The Immortals of Terra: A Perry Rhodan Adventure Walkthrough by Peter Olafson

Optional: You can leave
the lab. The teleporter at the end of the hall won’t work for you,
naturally. Perry won’t revisit the security checkpoint, as, once there,
he might not be able to get back to the lab. And both hangar doors
and the ones into the Prototype Test and Explosives areas are locked.
But you can visit Robotics Lab 1 and listen to the exchange between
the two scientists before you’re chased out. Huber then escorts you
back, apologizes for his rude colleague and gives you a preliminary
report: The robot head comes from a Blues robot built by Arkonides
with Terran parts. He says that defies conventional wisdom.

But he’s not giving you
the whole story. (Perhaps Huber doesn’t have the whole story.)

You’ve run out of things
to do in Huber’s lab, but maybe you could take a run at the neighboring
one. Nar-Khol -really- doesn’t want you in there, so you’ll have to
create a little chaos in Huber’s lab to cover your escape.

Put the plastic box you
found on the platform formerly occupied by a robot head. Then put
the lens on the box. The machine starts to scan it, you’ll see a window
indicating that information is being downloaded (though nothing appears
in your inventory) and then everything goes nuts in the experimental
lab in the background. The lens apparently has reprogrammed the arms.
Huber and Nar-Khol come running. Nar-Khol offers the opinion that
the new code running looks like "ancient Arkonide." And
while they’re focused on the monitor in the upper left corner, you
can quietly move over to Robotics Lab 1.

Interesting. The display
at the left side of that lab reveals that parts of the robot were
made at Waringer–maybe even in this lab.

Someone here is in on the
plot.

More interesting: Examining
the display at the far right gets you a searchable list of robot types.
(You can’t use it yet, as it requires a model number. You’ll find
this useful in the Thora’s Museum segment.) And grab the ID card from
the counter across from the robot head. Perry here raises the possibility
that Nar-Khol’s access could be somehow shifted to his own ID card.
(You can’t reclaim the head or the robot torso on the right side of
the lab–Perry doesn’t want to lug it around–but you’ll be able to
grab the latter a bit later.)

You’re about to get the
bum’s rush. Once you have both the list of robot types and the ID
card, the two scientists show up. They are not amused, and you’ll
quickly find yourself atop the escalator back in the Foyer. Only one
place to go: back to Kari. She sounds kind of pissed, as though you’re
late for the appointment (or she’s been hearing Bad Things about your
antics), and ushers you in to see Daellian.

And here more of the plot
hinted at by the video extracted from the deactivated robot is revealed.
Cut to Nar-Khol, who’s talking to a hologram of the fluffy-haired
Arkonide. He discloses that a "nobody" named Daikonu, acting
in Perry Rhodan’s behalf, has brought in a robot head and scanned
a piece of supran. The Arkonide reveals in turn that he’s extracted
the location of a "key" from the captive Mondra and dispatched
a certain Tachio to collect it. (The "key" is prsumably
the lens and Tachio the white-haired woman who blasted Martel’s robot
… and she’s too late.) Also, that Rhodan must vanish and the robot
head with him.

Cut back to Daellian’s
inner sanctum, where you’re finally free to put your questions and
get a succession of occasionally-condescending but useful answers.
The lens is an alloy (meaning someone made it) and essentially the
Voice of God–potentially, a radio that can communciate simultaneously
with everyone in the universe. You’ll back get a Frequency Spectroscopy
listing all the frequencies it uses. Ask Daellian about this in turn
and he replies, "Knowing you, you’ll find a way to misuse it
for something." (Maybe you will and maybe you won’t. But it’s
a critical item in the endgame.)

A review of Mondra’s notebook
evolves into a reverie about a hacker named Quint Essence who was
obsessed with the myth of the Illochim–and who is evidently now trying
to extract data on the lens scan from Daellian’s computer. A Quint
portrait appears in your inventory. (Is this the same fellow who urged
you to pursue the "undying myth" back at the Residence?)
Martel’s portrait and the Robotics Instutute blueprints draw an unflattering
(though non-specific) assessment of that gentleman. Daellian doesn’t
trust him.

Give him either of your
ID cards. Daellian can’t meld them together, and kicks you back to
Kari. Kari can’t do it either, but suggests you seek out a cryptologist
among the Academy’s population of Gataser Blues. She suggests buy
them something to eat.

Here you’re interrupted
by a news broadcast: You’re wanted in your own disappearance! Authorities
are looking for Laszlo in connection with Perry Rhodan’s vanishing
act agt the Solar Residence.

You may wonder here just
how they connected Laszlo Daikonu and Perry Rhodan. Laszlo’s a recent
creation–his existence dates only from your appearance at the Academy–and
Kari and Daellian are the only ones who know your "secret identity."
They wouldn’t betray you. But it’s conceivable that the fluffy-haired
Arkonide has put two and two together based on Nar-Khol’s intelligence.

However, you’re not currently
in jeopardy and can go straight about the business of cobbling together
another fake ID.

You need to find a Blues
and something a Blues would want to eat. You’ll recall seeing a Blues
in the Academy’s Cafeteria–his food put Huber in a coma–and that
the Cafeteria is serving Blues cuisine. So hop on the tram again and
revisit that eatery. You’ll find the Blues at the back. Speak to him
about a "card trick." He is in no mood. Speak to the counterman
again–listen carefully for a reappearance of the wispy voice from
the kiosks at the Residence–and this time you’ll automatically order
a Muurt burger.

(For a little extra fun,
be sure to right-click on the burger in your inventory. You’ll get
a detailed description … and one of the psionic Muurt worms in the
sandwich will try to talk you out of eating them–at some length!)

Give the burger to the
Blues and his mood changes instantly. Fork over your original ID or
the stolen one and he’ll perform the requested surgery. And that’s
that. When you return to the tram platform, you’ll discover you now
have tram access to the Robotics Institute.

But this just means you
can reach the unit without being brought in personally by a Robotics
scientist. Even if you have the combination to the door, Perry will
find it inadviseable to open the doors within that aren’t already
locked. You need to shake things up in there–get people out of position.
Is there a way?

Naturally.

When you arrive at the
Robotics tram station, your attention will automatically focus on
a technician working beside a ventilation access point at the far
end. Weird fellow. He’s talking to himself and eventually walks off
to ask Huber for a part, leaving you free to poke around in his stuff.

You can’t squeeze into
the shaft–it’s far too narrow–but Bully’s remote-controlled model
spaceship can. Even if you didn’t have Yuri repair it back at the
Solar Residence, it’s good to go.

But how do you know which
way to send it? It doesn’t come with a camera or radar. You’re flying
blind.

Check out the stuff lying
around on the ground. There’s a toolbox, a tool, the grate that covered
the opening, the restraining bolts and, just below the hole, a silvery
square about the size of the belt buckle. Grab it. It’s a data carrier
and you can save the contents to your inventory (as, unhelpfully,
"a diagram or plan of something"). Clearly, it’s a schematic
of the unit’s ventilation system. But it’s not clear at all where
it starts or where it leads. The access points are marked, but not
identified.

Here’s a list:

• The tram-platform access
  point is in the lower left corner.
• The Prototypes access
  point is 13 squares straight up the shaft and then nine squares
  right.
• The Security checkpoint
  access is three squares up the shaft, four squares right, three
  up and two left.
• There are three access
  points off the horizontal section of shaft in the lower center of
  the display. From left to right, these are: Nar-Khol’s lab (Robotics
  Lab 1), the Experimental Lab (the one with the robotic arms) and
  Huber’s lab (Robotics Lab 2).
• The Explosives access
  is off the horizontal shaft in the upper central portion of the
  display. (That’s eight squares up the shaft, four right, two up,
  12 right and three up.)
• And the two access points
  in the upper right and lower right corners are in the two hangars.

I guess Martel himself
doesn’t like fresh air.

Just use the craft on the
shaft. You’ll now switch to a view of the remote control. Just remember
that movement from square to square is performed using the forward/backward
direction buttons in the upper right corner and that you have to turn
the craft (using the direction arrows in the upper left corner) to
round corners. If you get lost, the large central button in the upper-right
corner kicks the saucer back to Perry and you’ll be able to start
over. And a similar one in the upper left corner presumably makes
the saucer drop out an access point.

Now where would the sudden
appearance of a miniature flying saucer cause the most havoc? In which
room did Perry express interest in during his first visit to the lab?
What room did Huber rush to steer you away from on that same occasion?

The Explosives section.
Huber said it was inhabited by "freaks."

Once you’ve reached this
access point, Perry will suggest you’ve found the right spot. Hit
the round button between the two directional buttons in the upper-left
corner. Maybe the craft blows up. (A radio-controlled flying saucer
with a self-destruct unit? Nah, probably not.) Maybe it fires a toy
weapon. Maybe it just scares the bejesus out of a scientist, who drops
then a vial of something ultra-combustible.

But the result is thunderous.
Smoke pours fom the ventilation shaft. When you walk down the corridor
to the security checkpoint, you’ll find the technician returning to
work, the checkpoint abandoned and the main door almost hidden behind
a smokey haze. Use your swipe card on the card reader at the security
desk and then try the door.

Still locked. But three
hints to the correct code are available.

1. You’ve been here before.
   When Huber brought you into the lab from the Cafeteria, he plugged
   in a five-digit code. I said you should listen. Did you? No, I didn’t
   think so.

   Each button has its own sound–faint but distinct–and the sequence
   sounds a bit like the famous one from the movie "Close Encounters
   of the Third Kind." If your sharp ears picked up the combination
   then, it’ll work now. It’s 0, 6, 2 , 8, 4.

2. Use the thermo-scan glasses on the door. They’ll detect lingering
   heat on the five buttons that comprise the combination. It doesn’t
   give you the proper order, of course, and there are, uh, 120 or
   so possible combinations using those numbers. But, hey, it’s a
   start!

3. If you don’t recall
   the pattern, no matter. Enter the abandoned security office–the
   door is now unlocked–and use the controls in the middle of the
   desk under the monitors. Then watch the central monitor, turn up
   the sound and watch and listen.

Hey, is that you?

While you’re here, use
the voice simulator on the video controls. (If you left it behind
earlier, you’ll have to pick it up in Robotics Lab 2 now and then
return.) There’s been no hint we should expect to find Martel’s voice
here, but it does work. The device records his voice track from a
video transmission on the super drill.

OK, you’re in. Initially,
you’ll find only one room unlocked and unoccupied. (The door to the
Explosives unit has buckled, but it’s still in place.) In Robotics
Lab 1–the first door on the right–grab the multiple-frequency chip
from the counter at the bottom of the screen (handy in the Thora’s
Museum segment) and, if you still need the voice simulator, the robot
torso from the upper right corner. (Nar-Khol has apparently acted
on his instructions, and the robot head is gone.)

Do you still need
the voice simulator? Given his earlier experiences, Perry won’t enter
Robotics Lab 2 while Huber’s present. But there is a way draw Huber
out. The hatch to the right-hand hangar has apparently been damaged
by the explosion; it’s opening and closing on its own. Use the heavy
robot torso from Robotics Lab 1 to block the door. Then enter the
hatch and you’ll find yourself right beside the giant drill … which
turns out to be an illusion! Turn off the little holoprojector nearby
and it vanishes. As Martel said in the robot’s video, the drill has
been shipped out. Leave via the hatch and you’ll run into Huber. He
must have witnessed some of this on a monitor, and acts as though
you’ve just driven the drill off the lot. If you like, follow him
back into the hangar to witness the full extent of his distress. Now
that he’s out of the picture, you can enter Huber’s lab, grab the
voice simulator and get back to the security station to record Martel’s
voice.

One last step is required
to reach Martel’s office: Use the voice simulator on the strobing
blue light atop the teleporter. When it finally takes–remember, it
was only a 97 percent match–step into the pale light below. You’ll
rematerialize in Martel’s private suite to find its occupant dead–a
seeming suicide from a poison drink–and his possessions in disarray.

Those two facts seem at
odds with one another, and, in fact, the issue of Martel’s death is
difficult to resolve from the available evidence. If he’s a suicide,
why are his trophies all knocked about? A search or a struggle. Either
way, it means someone was here before you–as you’re about to discover,
there was–and that implies murder. If you still have doubts, click
on the chair beside the round table on the right side of the office
and Perry refers to Martel’s "murderer."

Take the sweet drink from
the table near the body. (This will emerge down the line as more potential
evidence of murder, but it’s also as a useful item in Elmo Dater.)
Search Martel’s body for a data crystal and use it on the computer
atop Martel’s desk.

This’ll start you wondering
again. It’s Martel’s confession. In this recording, he admits cooperating
with the Arkonides and says he realized too late that he was being
used. He expressly refers to his suicide and the poison. Could this
have been faked or coerced? ("Leave a suicide note or I’ll kill
you"?) That seems unlikely.

The crystal then vanishes
from your inventory but leaves behind a file on Kato da Trumort–finally
putting a name to the fluffy-haired man you last saw from behind talking
to the scientist/conspirator Nar-Khol.

What to do? There’s no
new exit and no clear pointer to your next step. Yes, it’d be logical
to return to the Academy’s dean to report Martel’s death, but the
explosion has locked the Robotics station out of the tram system.
And, apart from the hysterical Huber in the right-hand hangar, no
one’s around. The conspirator Nar-Khol has evidently fled and I guess
all the freaks in Explosives are huddling under their desks.

You have to leave Martel’s
office and return for events to proceed apace, and can either search
the Institute (if you left behind the robot torso) or simply teleport
right back in again. When you return, the white-haired woman from
the video steps from behind the teleporter. "Well, Laszlo, everything
OK?" she asks–just before she knocks you cold. This is Trumort
employee Tachio da Xena. If you’ve checked out #1 under "Odds
& Ends" below, you’ve already heard from her. And you’ll
be meeting her again.

(If Tachio doesn’t show
up, you haven’t yet collected the yellow drink from the table or the
multi-frequency chip from Robotics Lab 1.)

You wake up in a prison
cell in some heretofore-unseen section of the Academy–your Laszlo
disguise and all your possessions gone.

As soon as you rise from
your bunk, walk down the screen to the front of your cell to get the
full explanation. (The ensuring messages may not be available later
on, so do this before you take any other steps.) The guard approaches
and explains that you’ve been arrested for a wide range of charges
in relation to your investigations at the Academy–including the murder
of Martel. Once he leaves, the trio of cleaning robots over by the
bench approaches with a message that sounds very like the mysterious
ones you received from the information kiosks back at the Solar Residence
and here at the Cafeteria counter. The implication is that the droids
are here to help. You can’t interact with them directly, but you can
set in motion events that bring them into play.

For starters, you’ll need
the spoon from upper left corner of the little shelf on the cell’s
right side and the cup of water just below and right of the spoon.
Click on the center of the left wall (or simply use the urinal in
the back left corner) and you’ll learn something is written on the
wall. Splash your water here to reveal a riddle: "take the pen
in the light, close the contact in the gap.

"There’s nothing in
the either of the cell’s two fluorescent lights. But the language
of riddles typically is metaphorical, rather than literal, so make
a proper survey of the cell. In particular, check the pipe that runs
along the floor below the riddle to learn something’s stuck here.
Use the spoon to reach it and you’ll come up with a "small metal
pipe." This must be the "pen" and the instructions
must mean "take the pen into the light."

But what light if not the
lights in your cell? This seems to be a reference to the electro field
that keeps you confined here. A pattern of small, square lights periodically
winks across the field.

Use the tube on the forcefield
and the field responds, lighting up brilliantly. The singing crystal
on a bench outside your cell responds to the light and starts up its
song.

The second time you use
the metal tube on the forcefield, the crystal’s song draws the attention
of the guard. By the fifth time, the guard’s annoyed. He apparently
deals with enough kitsch like this at home. He now takes the crystal
off the bench and places it beside the three nearby cleaning droids.
One promptly cleans it up and then, after the guard leaves, deposits
it near your cell. This new proximity somehow has the effect of deactivating
the forcefield. You are free.

Your possessions are suspended
in a circular window beside the remaining cleaning robot. Press the
switch just to the right of the window and then activate the window,
and your pre-prison inventory is restored–less the robot torso (if
you took the torso but didn’t brace the hangar door) and the singing
crystal, which has now served its happy purpose. (Anything you picked
up from your cell also vanishes at this time.)

You can’t do anything else
here except make your way down the stairs to the glider bays. (There
does appear to be a teleporter on the platform above where your possessions
were stored, but you can’t use it.) The nearest of the three gliders
is open–evidently another gift from your secret admirer. Use it and
you’re off to Titan.

Odds
& Ends

1. If you return to the
   Landing Platforms and try to retrieve your glider after you add
   Nar-Khol’s access to your ID card, you’ll activate an optional sub-plot.

   You’ll find the glider missing. Click in the screen’s lower right
   corner, where it was parked, and Perry realizes it’s been moved
   elsewhere and that he’ll have to check in to get it back.

   Notice that the door back to the tram platform has closed behind
   you. Click on the door to log in as Laszlo Daikonu. A computer
   voice reports the craft has already been collected by its owner,
   Mondra Diamond, and is on its way back to the Solar Residence
   … and that "Mondra" has left a message for you.

   It’s not Mondra. It’s Trumort henchwoman Tachio da Xena. The
   speaker teasingly says she’d have given you a ride home (meaning
   she knows who you are), but expects the in-bound security forces
   will look after you. The computer voice then instructs you to
   wait for the guards

   You’ve been set up. Perhaps Martel is already dead.

   You don’t have to do a thing to get out of this pickle. You’ll
   automatically change back to your Perry identity to get the door
   open. Then you’ll be instructed by the computer to meet the security
   forces in the lobby. The Regent would draw all kinds of attention,
   so, with the door still open, Perry switches back to Laszlo again.

   Now you can reach the tram platform. But you’re not out of hot
   water. As Laszlo, you’re a wanted man. The security forces really
   are waiting in the lobby. You’ll find a whole cluster of folks–three
   guards and a handful of what are presumably ticked-off Academy
   bureaucrats–standing at the base of the escalator. If you send
   Perry down the escalator, he’ll come right back up again and run
   all the way back to the tram.

   You can’t retreat to the Landing Platforms. Try and Perry explains
   that if the cops catch up to him before he hashes this out with
   Martel, he’ll have to explain everything and by the time he’s
   done, the bad guys will have vanished. You’re limited to the Cafeteria
   and Robotics–and, effectively, just Robotics, as you’ve exhausted
   your options in the Cafeteria.

   And that’s the end of this variation. From the Robotics tram
   platform, you can make your way back into the Robotics unit as
   described above.

2. Unlike other segments,
   the Academy is inhabited by a number of non-story characters. You’ll
   find them in the Foyer, the Cafeteria tram station and the Cafeteria
   itself. Virtually none of them have anything of note to say. (It’s
   a dozen variations on the theme "I can’t help you.") However,
   a few have unique lines and one character turns up in three different
   locations.

   Talk to the alien who appears on the Landing Platforms tram platform
   when you arrive at the Academy. Separated from his party, this
   Unithan is a weird, needy guy and good for a laugh. (He wants
   to cuddle. Perry begs off.)

   If you do talk to him, this same critter turns up again, his
   anxiety in full blossom, in the right near corner of the Foyer
   after your first meeting with Kari. And after your meeting with
   Daellian, he moves to the right side of the info desk. By then,
   he’s located the rest of his party. "They’ve found a first-class
   room for cuddling up in a group, and we’ll be meeting with the
   dean of the Waringer Academy himself right afterwards," he
   says. "Maybe he’d like to snuggle …"

   Somehow, I doubt the flying coffin is the snuggling type.

   You’ll meet another representative of this species–an altogether
   more sinister sort of fellow, but still a snuggler–in Elmo Dater.

   Note also that <ahem> none of the wandering female characters
   seem to be wearing underwear! Our natural delicacy prevents us
   from elaborating. But, up close, it’s hard not to notice.

3. And those wandering
   characters? Ulan Soso is not among them.

   When questioned about Swoonish omega decimal minuscules, Kari,
   Daellian and the lady at the information desk in the Foyer all
   report the Residence architect is wandering around the Academy.
   That’s two more sources than required for a red herring.

   But, as far as I can tell, Soso never turns up.

4. Useless Item Dept.:
   The game’s good about finding uses for your inventory items. But
   one from the end of the Academy segment never finds a special purpose:
   "tray with food," which turns up with a glass of water
   and a spoon on a little shelf on the right wall of your cell.

   You can take this purported meal–it looks like breaded giant
   cockroaches–and get a number of light-hearted descriptions from
   Perry when you try to use it on various objects in and around
   your cell. But I’ve never found a practical use for it. Our hunch:
   This is an artifact from an alternate escape route that didn’t
   make the final cut. (Perhaps the singing crystal wasn’t always
   a required item?)

5. Neat Effect Dept.: Did you check out the soccer game–Solar London
   vs. Asia Delhi–that being projected in mid-air in the Cafeteria?

6. The print in the sign
   on the tram platforms and in the Cafeteria advertising Mondra’s
   Illochim exhibit? It just reads "CDEFGHI." (There’s a
   fair amount of alien type in the game that doesn’t translate into
   proper English.)

Thora’s
Museum

You’ll find the doors at
the top of the stairs open. Once the hologram of the museum’s director
(who seems oddly familiar) addresses you at the far end of the entry
hall, they close for good.

Not that you had anywhere
else to go anyway.

Beyond the hologram, you’ll
find yourself before a statue of Thora with passages extending in
three directions. You can take the tour–the hologram will talk to
you in each exhibit–or start solving puzzles straight away.

Three puzzles touch upon
this initial section of the museum. Elements of two can be found in
the left-hand hall. You can’t solve either of these yet–they require
gear found deeper in the museum–so, for now, I’m just going to remind
you they’re there.

One involves this hall’s
central exhibit: a puzzle game called Ylohim or "ascending six."
(You’ll play this a bit later.) You won’t find much in the way of
details here, but you can get the basics from the exhibit description
(the stacked tiles close to the door). And you can try to pick up
the tiles that float above the pool. Unsuccessfully, as they’re too
heavy. But this raises the prospect that you might be able to lift
them later with the proper item.

The other one’s more basic.
At the far end of the pool is a hologram projector. This recreates
the projection of a flying Illochim directly above it. But it’s not
entirely a projection. Look at the Illochim and you’ll see it’s been
reconstructed around a real wing bone.

Can you get the bone? Eventually.
Activate the projector below and you’ll see it can be tilted backward,
and that the projection (wing bone included) moves with it to a position
at which it’s within reach from the ground. However, when you move
to get the wing bone, the projector automatically returns to its upright
position and the projection to its high-flying position. You just
need something to hold the projector in this tilted position, and
that’s still some ways down the line.

OK, here’s a puzzle you
can complete.

In the statue room, you’ll
notice that each of the three doorways has a blue band across its
portal. Click on one. These are teleporters. Though you appear to
be moving smoothly from room to room, you may be moving to a room
not physically connected to the one you’re leaving. It’s a kind of
high-tech version of a velvet rope. Perry notes in his journal that,
to get out of here, you’ll have to find a way to deactivate these
devices. To do so, you’ll have to first enable a terminal that doesn’t
look like a terminal.

Just to the right of the
statue, you’ll see a little switch on the floor. Throw it. This lowers
the statue for at long as you remain on-station at the switch. On
first use, Perry wonders aloud why it was so engineered.

Look at Thora’s right hand.
Doesn’t she look as though she was holding something aloft? What could
it have been, and is it still here?

You bet. Enter the hall
to the right. Check out the central exhibit. "Thora had a Dagor
sword like that, too," says Perry. (He should know; this immortal
of Terra was once married to Thora.) "There are several pictures
and other reprsentations that portray her as a Dagorista with her
sword raised. That would go well with the statue outside, too."

But click on one of the
forcefields that surrounds most other exhibits and you’ll learn blasting
through to the sword would require a lot of weight and energy.

Happily, you’ve found something
in this same hall with both weight and energy. The leftmost exhibit
against the upper wall is a Perikon 300 battle robot. Click on its
description high on the wall to learn it is Type 558025 (meaning you
can look it up on your recently-acquired list of robot types), that
it can be operated by remote control (meaning you could presumably
direct it with the remote control you swiped from Bully’s office)
and that it can react to enemy movements that precede an attack. (This
last feature will come into play later.)

Call up the list of robot
types you downloaded at the Academy’s Robotics Lab 1, plug in the
model number above and click on "OK." There’s the Perikon.
Nasty piece of work. At the bottom of the display, you’ll see it operates
on a frequency of 849,109.

You can’t adjust the frequency
on Bully’s remote in its current state. But you do have that multi-frequency
chip swiped from the same lab where you downlooaded the robot-types
list. Use it on the remote to modify it into a universal remote control.
Then right-click on the remote to call up the display. Plug in the
new operating frequency and hit the yellow button at the bottom center
of the display to exit. Now, just use the remote and point the yellow
mouse pointer at any location in the room. This monster will walk
over there on the double. Intimidating!

But you’ll discover that,
dishearteningly, the Perikon can’t build up sufficient momentum within
the confines of even this large room to penetrate the field around
the Dagor sword. You’ll have to first move it out of the room (the
exits at either end will work) and then click on the shield aroud
that exhibit. Here comes the robot, and there goes the sword.

Retrieve the sword from
the floor, return to the statue room, throw the switch to lower the
statue and then, without adjusting your location, use the sword on
the lowered statue. This turns on a display in the ceiling directly
above it. Have a look: It shows the planets of the Arkon home system
Tiga Ranton.

You’ve enabled a control
panel elsewhere in the museum.

To reach it, return to
the right-hand hall and use the steps at its far end. Do the same
in the next hall (an under-construction exhibit devoted to "the
invasion of the Yillod Zhymii:), and you’ll reach a small chamber
with a similar representation of the Arkon system at the top and a
big switch in the bottom right corner.

When you advance to the
middle of the room, you’ll hear screams that sound to Perry like Mondra.
Don’t rush onward. You can’t help her. Use the solar-system display.
The blue teleportation bands vanish from all the museum’s doorways.

And don’t throw the switch
in the lower-right corner. Right now, this dual-function switch disables
a pumping station. You’ll visit that station in just a bit, and you
want it functioning when you do.

Without the teleporters,
the museum is transformed. The three halls off the statue room remain
the same. But the left-hand hall (the Yillod Zhymii exhibit) is now
a dead-end. (The stairs at the far end lead nowhere.) The central
hall (the one behind Thora’s statue) now leads up the little room
where you turned off the teleporters and then to a new area: the "cathedral."
And stairs at the end of the right-hand hall now take you to a shadowy
storage room and then across a narrow bridge to a full cistern. I’ll
tackle these new areas once I’ve mopped up the old ones a bit.

See, when you disconnected
the teleporters, you also turned off the forcefields around the displays–making
this a good time to loot useful items from the exhibits. In no particular
order, you’ll want to grab:

• the Arrachieda stick
  (from the left corner at the near end of the under-construction
  "invasion of the Yillod Zhymii" display);
• the miner’s lamp (right
  next to the Arrachieda stick);
• the transport frame
  (from the right near corner of the same hall);
• the laser pointer (from
  the pistol in the right near corner of the Arkonides weaponry display).

The last of these will
get you into the museum’s inner sanctum. The first three won’t see
use until you visit Elmo Dater. I’ll be back to pinch a couple more
items from the left-hand hall later, but that wraps up what you can
do at this stage. On to the new areas.

The Storage/Cistern
area: In the church-like storage room, grab the object jack
(a lifter for heavy objects) from the open crate on the right side
of your entry path. A click on the broken central window on the right
side of the room puts you beneath the window. Then grab the blue shard
of glass that’s right ahead of you. And did you notice the nuke emblem
on the containers to the right of the shard? These are Terran weapons
systems.

What’s a museum doing with
weapons?

From here, use the exit
stairs at the far end and then cross the high bridge to the cistern.
The water looks nasty, and Perry won’t use the anti-grav lift to descend
into it. But look carefully to the left and below the center of the
pool and you’ll see outlines of something on the bottom. "It
could be a glider or a rocket, or a giant upright clarinet,"
says Perry. You’ll have to pump out the water so you can get down
there and inspect it first hand. And the pumping controls aren’t here.

So let’s shift gears for
a moment. You’ve recently picked up an item that allows you to collect
the heavy Ylohim tiles from the left-hand hall in the initial section
of the museum–that object jack from the storage room–so hoof it
back there and use the jack on any of the floating tiles. You’ll be
rewarded with two new inventory items: the tiles themselves and instructions
on how to play Ylohim. Now you’re equipped to take on the next puzzle.
You just have to find it and prep it. Again, it isn’t here, so it
stands to reason it’s in …

The Cathedral area:
The centerpiece of this display is a vast robot–the one you’ve been
seeing in ads for the museum exhibit. You enter the exhibit on middle
of three levels. A teleporter to the right of the entrance moves you
between them.

At this stage, all the
levels may seem kind of frustrating. For instance, on this level,
you’ll learn that there’s an opening in the robot’s crotch that’s
exactly in the shape of the lens. But the lens can’t be inserted there.
(It turns out you need a bridge to reach the aperture.) You’ll also
find stacked tiles off to the left. This is a clue that you’re in
the right neighborhood to play the Ylohim game found back in the left-hand
hall.

But where to play? From
the grid displayed in the image of the exhibit’s upper level when
you step into the teleporter, you may think you’ve found the game
board … but you won’t see anything like that when you materialize
at the top. You’re stranded on a ramp high above the robot. (The door
at the end of the platform leads to the director’s office, but opens
only from the other side at this stage of the game.) ….

What’s missing?

Well, remember the exhibit
in the left-hand hall? The tiles there were floating above water.
You’re going to need to pump water from the cistern into the cathedral.

But where are the controls?
The three doors on the lowest level all appear to be locked. The central
one requires a positronic key (which is still some ways in your future)
and clicking on the left and right doors reveals only that they can’t
be opened by hand.

But look at the space in
front of the two doors. There’s a contact tile for each and your journal
reveals that both must be weighted simultaneously to get the doors
open. You’re not carrying any obvious weights. But your remote control
does give you the ability to summon a very heavy robot. Using the
remote control, plant the Perikon on the contact tile for the left
door while you stand on the one for the right, and you’re in. The
right door opens into the pumping station. (Note that if you reverse
the positions, the left-hand door won’t open. You’ll have to complete
your business here first.)

In the pumping station,
click on the panel on the machine’s left side. Here you’ll find three
dials and an indicator light. This should be green. (If it’s yellow,
you’ve inadvertently disabled the pumping station and you’ll have
to retreat to the little room where you turned off the teleporter
and throw the big switch in the lower-right corner to re-enable it.)

Don’t bother using Mondra’s
script table to translate the dial labels to English; you’ll get nonsense
words. Just turn the bottom dial and the right dial. Then hustle back
to the little room where you turned off the teleporters. Now throw
the big switch in the lower right corner. Now it starts the water
flowing. Perry’ll say, "Aha, sounds like a working pumping station."
By the time you get back to the cistern, you’ll find the water level
way down–exposing a fast Triagon glider of the type used by Arkonide
intelligence. Use the lift to descend into the cistern. You’ll find
the ship inaccessible and the door to the left locked.

This is a dead-end. But
it won’t always be a dead-end.

Return to the cathedral’s
middle level to find the water has risen to the cover the lower level.
Hope the Perikon’s waterproof. Use the teleporter to reach the top
level. Now you’ll be able to see the Ylohim game’s gridwork in place
down below. Simply use the game pieces on the gridwork. Your point
of view drops back to the middle level, and the game begins.